music on so you think you can dance: Aug 30, 2008

Saturday, August 30, 2008

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Ukulele Strings - Which Do You Need?

There are so many different types of ukulele strings out there, it can be very confusing. I've ended up buying the wrong type of string in the past and so have many others.

The type of string you have on your uke can make a big difference to the sound. Usually, new ukuleles will come with low quality strings. With every ukulele I've bought, I've immediately changed the strings to a quality brand.

However, you need to be careful what you buy. Here are some things to consider:

Size

It is very important that you buy the right size of string to fit your ukulele. The thickness and length of the string differs depending on the size of ukulele.

If you have the standard, smallest size ukulele, make sure you buy soprano strings. If you have a tenor or baritone ukulele, make sure the strings are marked with that size.

Brand

Amongst most ukulele players, there is a general consensus that Aquila and Worth are the best strings around. You should definitely test out these two brands of strings to see which you prefer and provide a baseline if you want to test out other brands.

There are many other makes of ukulele string. Professional ukulelists endorse other brands. For example, Jake Shimabukuro has an endorsement deal with D'Addario and James Hill has Hilo strings on his re-entrant ukes.

Tuning

Different types of tuning require different types of string. The standard ukulele tuning is gCEA with the g-string pitched between the E and A strings (known as re-entrant). If the strings you are buying don't state a tuning, it's fairly safe to assume that this is the tuning.

Before you buy the strings, be sure to check they are not low-G strings (unless that's what you're looking for). It is not possible to tune low-G ukuleles to high-G and vice versa. However, you can use low-G tuning on a high-G uke (and vice versa) with a little modification (sometimes no modification at all is needed).

You'll sometimes see strings intended for ADF#B tuning. This is the standard ukulele tuning but two frets higher. There's very little difference between these two tunings and string sizes, so the strings you get for this tuning will be suitable for standard tuning.

Buying a quality set of ukulele strings is a wise investment. It's by far the cheapest way to improve the sound of your ukulele and will make playing a more pleasant experience. Just be sure to double check that the strings you are buying are correct for you ukulele.

You can find out more about ukulele strings and buy some at Ukulele Strings

Al Wood writes about the ukulele and has a guide to buying ukuleles at Buy Ukulele

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Interest Your Child In Piano

A frequent question is, "How do we get our child to practice the piano?"I always stop them politely and say, "Please, say 'Play the piano' not 'Practice the piano.' "If you make the piano into a game, you might get the child to try playing piano on their own, not under your orders.For example, your child undoubtedly has a favorite toy or game. You don't have to say, "Go play your game," because the child ALWAYS wants to do that activity which brings them such personal reward.To learn the piano even moderately well (even as an adult) you'll need not only persistence, hard work and a lot of intelligence, but also one other quality: love.That's right, you'll have to love the piano in order to weather all that repetition, confusion and effort, not to mention the time involved.What could possibly make so many people work so hard to master this great instrument? The answer is, because they love the instrument.

And this is also the answer to the original question, "How do we get our child to practice the piano?"You get them to play because it's so much fun that they do it themselves. There is no "practicing." You don't have to tell them to practice. They play the piano as if it were a toy, a treasured toy they like to spend time with, until they're done with it, and then off to another happy activity.Now, for children, this is very easy to accomplish. How? Simply lower the bar initially to the degree that the child cannot fail, can only succeed.

Make initial lessons so much fun that the child begins to want to explore the world of music through the piano. Do this as long as the child needs it until they demonstrate comfort playing simple music.

As an example, let them play with their index finger, as their instincts tell them and piano teachers see again and again. It teaches the child no bad habits because the "one finger system" will be gradually improved upon. How? By using simple finger and note games. See the article on Fingering. Basically, a fingering curriculum might be to let the child play with one index finger initially, preferably the right index finger. It doesn't matter if the child is left or right handed, start with the right index finger.

Then let them play with the index fingers of both hands. Then introduce the right thumb. Then use the right thumb and index together as a team. Then introduce the right middle finger as the third member of the team.

And all this finger stuff and games is before they ever see a note of music!

Always let them go back to a simpler system (one finger) if they demonstrate repeated discomfort with a more complex finger position (more than one finger.)

Discomfort is a child's way of saying, "You're going too fast."

It's far more important that the child feels proud and happy than you, the teacher, feel your method has been understood and mastered.The child doesn't care about your "method," or any method. They care about how they feel about themselves and how they feel about the piano. It's simple human natureAfter a little rest (simplicity,) they are ready for another try at reading music, but never press beyond the point of "mostly fun with a little work."Better to back off while it's still fun, and try again another day when they're fresh: it's hard work to learn the piano and you're better off if you and your teacher are not in a hurry.With a child it's not difficult to get them started without anxiety, but it requires a teacher of almost Biblical patience.Give your student a system that is transparently simple, like piano by number, and let them play by themselves. Hopefully your only problem will be getting enough songs for them to consume and explore.

Kids get very good quickly with piano by number, and then, at the time they become comfortable, of course, is the perfect moment to introduce reading music, for they are already comfortable with the instrument and able to play familiar songs reasonably well, in a way that makes them feel proud.

You'll need a good teacher, a very, very patient, almost saintly creature who is funny, articulate, and always has a secret curriculum in mind, reading music.Allow the child time to demonstrate that they are ready pass beyond the world of preparatory piano games and attempt to start to read music.

This "time" could be a week, could be a year, and is entirely dependent on the particular child. Almost the only mistake you can make is to go too fast.

All children start learning the piano in different ways, and a good teacher unlocks the way of teaching that gets them started and makes them love it from the very first minute.

This "magic way," is different for each child, can be humor, it can be math, it can be them imitating what you play, it can be sound games, it can be number games, it can be "Name That Tune," it can be playing with your nose, but don't let them leave that piano with anything in mind but, "Wow, that was FUN!"Delay reading music until the child is comfortable playing simple, familiar songs by number. And when you begin to read music, make each attempt initially no longer than a minute or so. That's right, a minute at a time. The concepts have to be broken down into such simple units that only a minute is required to make a child understand each idea.Later, those ideas are drawn together, allowing the child to easily find the notes on the page on the piano.

You can use the concepts in our book I CAN READ MUSIC, and as a practical matter, never go to the next idea until you are absolutely certain the child can unfailingly master each simple idea (such as lines and spaces, what is a note, where is middle C, etc.)

I've said it before: the worst habit you can learn at the piano is to not enjoy it and not want to play.That's the habit that will make you want to quit.

John Aschenbrenner is a leading children's music educator and book publisher, and the author of numerous piano method books in the series PIANO BY NUMBER.

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Five Tips To Select Broadway Show For Children

In different cities in America some theater organizes special Broadway and off-Broadway show for children. In major cities and town there are many show organize each day. The local newspaper and the big hoardings at the main road are the key source of information about the show. There are different types of show organized for the children's where children gets the more entertainment. It is ideal to select the proper show from your children. Here are the tips to select the Broadway show for your children.

1. First tips is to identify the show from the newspaper and magazine or hoardings. You must have to discuss with your children and know their interest. There are Broadway or off Broadway shows organized so you have to select the proper one for your child. Also give some description about the show. Once your children get agree on the show you move further.

2. You must have to get the inquiry about the show time and availability of the booking. You must have to decide which class of ticket you need to buy from the booking office. Also confirm the timing of the show. You must have to through about various alternative for the tickets.

3. While booking the show ticket you must have to ask for discount. There are many show offer different types of discount if you book in advance or if you book the ticket in bulk. The theater give discount from 20 percent to 60 percent.

4. It is advisable to book your ticket in advance to avoid last time rush and get the good discount on the ticket.

5. It is essential to presence in the show early because you get the idea about the seat location and select the proper seat. Also interest with your child while show get start.

Christy Myers is a writer for http://www.1844broadwaytickets.com , the premier website to find Broadway ticket, Broadway discount ticket, Broadway cheap ticket, Broadway discount show ticket, Broadway broker ticket and many more.

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CD Mixing Tips - 10 Tips To Get Your Music Mixes Rockin

With the widespread availability of affordable computers and powerful software for music mixing, the average musician is now able to set up a reasonably decent home studio on a relatively small budget. However, even though the software is extremely powerful and versatile, what seem to be missing are tips on how to create a great mix.

So, without any more fanfare, let us get right down to the 10 mixing tips you can try IMMEDIATELY to improve the quality of your mixes:

While mixing, keep a close eye (and ear) on all those plug-ins. Each one of them will distort if the output signal exceeds the acceptable threshold level. Because the output meters are out of sight when the plug-ins are closed, it is fairly easy to be unaware of the distortion, all of which can absolutely ruin your mixes.
Make use of the high-pass filter found on many equalizers to cut off the low frequencies on tracks that do not need the presence of low frequencies (e.g. frequencies below 100Hz) in order to sound right in the mix. These include vocals, hi-hats, keyboards, etc. Of course, all this depends on the song itself. For example, if you are mixing a song that is just piano or guitar and voice you might run a high-pass filter much lower down, around 40Hz or so, in order to maintain some of the bottom end in the mix. However, even the bass and kick drum can be improved by rolling off frequencies below 20Hz. Most project studio mixes sound terrible because there are too many sounds competing for space in the lower frequencies. On the opposite end of the spectrum, you can use a low-pass filter on instruments like bass and kick drum that do not need the presence of high frequencies.
Try using compression to even out volume variations and control the attack of a sound. Using a FAST attack will accentuate the body of a sound, while using a SLOW attack will increase the definition. Bass, kick drums and vocals tend to benefit most from compression, although you should listen to all your tracks with and without compression to see what works best. Keep an eye on the other settings on the compressor (Input, Release, Threshold, Ratio, Output Gain) since these can dramatically affect the results you are trying to achieve. Its also important to remember that compression can raise the level of background noise in your mix as well as accentuate sibilance (essssssss) in the vocals. It may help to place a de-esser after the compressor to take care of excessive sibilance.
Listen for tracks that can be cleaned up by scooping out (reducing) the frequencies between 150 300 Hz. This is generally where the mud tends to be in most tracks. Be careful when you do this however, since this can also be where the meat or warmth resides on some tracks. Listen for the track(s) that can benefit most from this action, and do not scoop out too much of the track or else your mixes will start to sound thin.
Always listen to your mixes IN CONTEXT! It doesnt matter how great that kick drum sounds by itself if it sounds terrible once you turn everything else up. Its okay to solo a track briefly to get a sense of what is happening to the sound as you apply processing, but only do that for a few bars and then listen to it with everything else in context.
A parametric equalizer is an extremely powerful signal processing tool used to sculpt sound. It is generally better to cut (reduce) than it is to boost (add) frequencies, although you should always do what is right for a particular track. Begin by making the track sound terrible (by boosting a specific frequency dramatically and sweeping slowly across the spectrum at a fairly narrow bandwidth as you listen), and than cutting the frequency that sounds bad in order to reduce the presence of the bad sound. Do that several times using each band, listening for when a cut or a boost is necessary, until you either run out of bands or dont need to make any more cut/boost corrections. Dont feel the need to use every band available, though. When using EQ and other signal processors, less processing tends to be more beneficial to the overall sound of the mix (i.e. less is more).
Dont mix entirely in headphones, or at extremely loud volumes through your monitors. Spend most of your time mixing at moderate and even low volumes, occasionally cranking it up to see how things move at those high energy levels. Try listening to your mixes through several different headphones (which can pick up clicks and pops not heard in the monitors) and at different volume levels through the monitors, as well as on different monitors if possible. The mix will surely sound different on the different systems, but the objective is to get things to sound good on all systems, not great on some and terrible on others. Occasionally walk away from the monitors and listen to your mix from another room. This gives you another perspective on level imbalances not apparent inside your normal mixing environment.
Concentrate on the busiest parts of your mixes first. This may be the hook (chorus), or bridge section, and this is where your mixes tend to get away from you the most. As you listen, make a determination as to whether or not EVERY SINGLE TRACK and EVERY SINGLE LAYER absolutely NEEDS to be in the mix ALL THE TIME. Mute / un-mute and add / remove tracks one at a time to evaluate their contribution to the impact of the song. It may be necessary to strip away some of those layers in order for your mix to sound more punchy and energetic.
Make good use of automation. If that is too complicated (based on your understanding of your music mixing software) you can try breaking up your tracks into song sections (e.g. VOCAL intro, VOCAL verse 1, VOCAL B-section, VOCAL hook, VOCAL verse 2, VOCAL bridge, etc). The reason for this is that the signal processing and volume / pan settings that work for a track in one section of the song (e.g. VOCAL verse 1) may not necessarily be right for another section (e.g. VOCAL hook). In this instance, you may need to set your EQ, chorus, compression, reverb, pan, and volume settings differently for the different song sections. The same may apply to other instruments as well.
Tune your instruments often during your recording session, or at least CHECK the tuning often. Even though this is a no-brainer for bass and guitars, dont forget that even drums (kick, toms, and snare) need to be tuned in order to sound their best. No matter how well you process the tracks for your mix, out-of-tune instruments will distract the listener and contribute to the impression that the mix sucks! It is sometimes possible to tune your instruments after the fact, but that time could be better spent on other crucial areas of your mix.

And there you have it! Try out some of these mixing tips and you will find yourself on the way to better mixes in no time.

Problems getting your music mixes to sound right? Confused about what to do with your CD once you've finished recording it? Don't know how to put together a tour so that you can make some money selling merchandise, tickets, and lots of CD's? Author, consultant and music producer / engineer Jeremy Rwakaara offers music articles cd mastering tips music mixing software list, glossary of recording terms and a music directory at the maryland recording studio site

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